fashion research methods

school of fashion
Lynne Hammond 2002

FASHION RESEARCH METHODS

2002

CONTENTS:
Fashion Research Overview Trade Shows Forecasting Publications Catwalk Shows Directional Shopping Trips Cultural Events Historical Sources Media/Music Internet References

FASHION RESEARCH METHODS Fashion Research Overview

2002

An insufficient flow of information leads to inadequately designed products. (Formosa 1991) The processes involved in designing new ranges and collections normally begins with researching and gathering information. However, fashion designers have limited training in research, and rarely conduct their own research studies, resulting in intuitive and subjective judgements. Contributing to the problems is the limited amount of time available to conduct the research, and the heavy costs involved in designers gathering the information. Information gaps do occur, and being able to anticipate downward and emerging new trends, will ensure sustained profit performance. The effectiveness of the research method is difficult to measure, and the various members of the design team, undertake most of the methods outlined below to obtain a collective view. Research Methods which can be used by the fashion designer Trade Shows Forecasting Publications Catwalk Shows Directional Shopping Trips Cultural Events Historical Sources Media/Music Internet Designers need to draw upon a diverse range of information to inform their decision-making during the process of range planning and development. Depending on the market level, type of product, and the company will determine the types of methods used by the fashion designer. High Street retailers would use methods related to the here and now and secondary sources, and would be influenced by current trends for mass-market consumers. Whereas designer labels would be more interested in influences external to fashion and primary sources, to create highly original and innovative collections. Fashion forecasting is an important activity to ensure that through the process of observation, related to short and long term planning can be based on sound and rational decision making not hype. Forecasting can bridge the gap between ambiguous, conflicting signs and the action taken by the design team. Fashion forecasting combines theories of fashion changes with the process of organising and analysing the information and synthesizing the data into actionable forecasts. (Brannon 2000) Forecasting is a creative process that can be understood, practiced and applied. Forecasting provides a way for executives to expand their thinking about changes, through anticipating the future, and projecting the likely outcomes. (Lavenback and Cleary 1981)

FASHION RESEARCH METHODS Fashion Research Overview continued

2002

Brannon (2000) puts forward steps in developing a forecast, which consists of tools and techniques applied systematically. Steps in developing a forecasting are: Identifying the basic facts about past trends and forecasts; Determine the causes of change in the past; Determine the differences between past forecasters actual behaviour; Determine the factors likely to affect trends in the future; Apply forecasting tools and techniques paying attention to issues of accuracy and reliability; Follow the forecast continually to determine reasons for significant deviations from expectations; Revise the forecast when necessary.

The methods of identifying and anticipating what will be successful ranges/collections for next season, are influenced by how inspirational concepts are sourced, how information is gathered, and what references are utilised to create the new ranges.

FASHION RESEARCH METHODS Trade Shows

2002

Designers visit trade shows to gain advanced knowledge of fabrics, and fashion products, such as garments, accessories, and footwear. These shows are organised by textile and fashion garment companies, to present new fabric or garment ranges, and the purpose is to sell their products to fashion buyers and designers. It is important that designers attend these shows to be able to observe and obtain future insights, which influence their decision-making abilities when designing the ranges. All fashion companies surveyed all sent designers to visit trade shows on a regular basis, and stated the importance of international travel, in the creative process was essential to design development. The advantages of attending trade shows proved to be linked to networking, building relationships with suppliers, viewing new information and products and most of all the important ascertaining key information on which to base range planning. Attending key trade shows also provide a wealth of information and ideas for inspiration. These shows are normally held twice a year, and present new product ranges at least 12 18months ahead of the season. There are usually two types of trade shows, textile or garment. Textiles shows are divided into two categories, yarn or fabric shows. The success of trade shows is based on the attendance by leading figures in the industry. One very important fabric trade show is Premier Vision, and has presents products from over 850 European weaver-exhibitors and over 45,000 visitors over the four days. (Jackson 2001) Garment and product shows are much more diverse, ranging from high profile catwalk designer shows to more mainstream and mass market shows. In addition, they are segmented according to sector, such as sportswear, lingerie, menswear or womenswear. Garment Shows are held in international locations, and allow the fashion buyer to observe new merchandise, and liase with the manufacturers/suppliers to confirm new orders, or to buy new ranges. The fashion buyer are constantly searching for new ranges/collections to add interest to their existing portfolio of suppliers, as well as identifying cheaper versions with good quality features. These product trade shows are constantly changing, in terms of their locations and names, however the European textile trade shows have sustained their positions during volatile trading conditions. The UK Textile industry has suffered a decline and does not attract the international audience it once did. The Elite Fabric Show in London, although small in scale, does provide a national service to UK fashion designers. Trade shows present key trends through a variety of methods. They provide thematic groupings of directional concepts in a central location at the venue. In addition, further insights are gained from watching audiovisual shows, which fashion experts use as overviews of the season and emerging trends.

FASHION RESEARCH METHODS Trade Shows continued

2002

Key decision making stages in the development of a fashion season Spring/Summer 2001 (adapted from Jackson 2001)
Date May June Event Fashion Forecasters plan colour British Textile Colour Group (BTCG) meets Intercolour Group meets Paris BTCG representative return to review Premiere Vision (A/W 00/01) (incorporating Indigo S/S 01) Filo Yarn Milan (mainly weavers) Expofil yarn show Paris Pitti Filati yarn show Florence Tissu Premier fabric show - Lille Prato Expo fabric show Florence Premier Vision - Paris Pitto Uomo Menswear Florence 40 degrees Young Casual wear London Pure Womenswear London Herren Moda-Inter Jeans Cologne Designer Ready to wear shows Designer Couture Shows Textile Show Garment Shows

October

November December January February

Paris Couture Shows London Fashion Week Paris Fashion Week Milan Fashion Week

March

July

August

September/ October

FASHION RESEARCH METHODS Fashion Forecasting Agencies

2002

Trend identification enables companies to execute a strategy based on timing. These strategic windows (Abel 1978) involves timing the firms product offering to the customers readiness and willingness to accept and adopt those products. Forecasting agencies are the primary vehicle for presenting this kind of information. We live in a time when the turnover of stuff clothing, electronics, bands, holiday destinations, cooking ingredients has reached blur speed, says Nick Barham, head of Profusion, the trend-spotting unit for the advertising agency Bartle Bogle Hegarty, whose clients include Levis. These agencies gather information and visual images on colour, fabric, yarn etc usually 2 years ahead of schedule i.e if a company is designing 18months ahead, the information they are using has been prepared anything between 6months to 1 year in advance. In the first instance internationally syndicated bodies such as Dupont or ICI discuss this information with the relevant consultancies, which in turn sell this information to the forecasting agencies. They produce in the form of books or slides, all this assimilated knowledge to manufacturer/ design teams within the garment industry. One of the leading trend predictors is Li Edelkoort, who has her business in Paris, provides directions for the next big thing. The majority of fashion companies do refer to fashion forecasting books, not necessarily through employing agencies on a consultancy basis, but through purchasing information through specialist fashion book suppliers. Fashion forecasting agencies have reduced in number of the last 5 years, with the disappearance of key agencies such as Design Intelligence. However, this particular function is now integrated into large companies as part of the design department, with in-house forecasting teams, who liase with designers in developing ranges. The advantages of such in-house forecasting is to ensure that formalised structured reporting is undertaken in line with the company strategy and market needs. The disadvantages of such integration can be the limited inspirational thinking. External agencies who are not linked to the corporate structure of the fashion company can provide fresh, new and innovative thinking in the development of ranges. There are a number of forecasting businesses that provide specialist information to the fashion company. Well known agencies are Peclers, Promostyle, and Li Edelkoort are international players and provide extensive visual books to fashion companies. Promostyle is a trends forecasting business, which offers services to a global client base as well as customised consulting service to companies. These forecasting agencies offer directions and advisory information based on many years of experience, and have the ability to spot a potentially strong trend. Fashion forecasting is used within the fashion/textile industry as a means of directing companies into new ideas of colour/fabric/theme/mood and yarn developments for different product types and levels. Knowledge of trends and future market requirements is increasingly important to the industry. While there is no definitive fashion story, accessing the right colour palette, researching fabric and styling trends to suit a particular niche and customer profile is essential. The degree and quality of information available to designers and its interpretation, given an effective marketing strategy, effectively dictates their success in the market place.

FASHION RESEARCH METHODS Fashion Forecasting Agencies continued

2002

The dissemination of trend information in the textiles supply chain has evolved in a fragmented manner. Contributing factors are the declining degree of vertical integration overall and the traditional small size of apparel manufacturers. Because of the dominance of retail brands, firms have traditionally manufactured to their own requirements with no compunction to investigate the trends themselves. This has adversely affected Small and Medium Enterprises wanting to develop their own brands and the large number of small scale manufacturing aiming to diversify from Cut Make and Trim. Attempts to define and analyse forecasting/prediction consultancies roles and how they are used are on the whole vague, confused and ill informed. The UK fashion and textile industry has traditionally been production orientated with long runs of similar styles and colours of the seasonal norm. This is changing as manufacturers adapt to the more demanding consumer requirements. The increasing need to become more market orientated necessitates up to date design information, to be analysed and adapted to particular markets and requirements. By accurately forecasting customer trend requirements less end of season discounting and increased profits are realised by both manufacturers and retailers. The increase of fashion prediction book, such as Textile View, Interior View, Textile Report, Juene Creatuers, are available through specialist book shops and provide a less expensive method of featuring fabric, colour and look combinations. The analysis of this published trend information is another important task of the designer and the product development team. These fashion books also provide important directions in terms of graphics, page layout, emerging product trends, contemporary images and overall presentational information that are part of the concept inspirational development process. However, these books are essential in confirming and assisting designers in understanding and developing future ranges. Forecasting agencies usually have their own trend-spotting unit like the one at BBH, while other industries hire the services of people like Faith Popcorn. Ms Popcorn, probably the worlds famous spotter, advises multinationals like IBM and Pepsi, and is credited with predicting the cocooning craze in the early Nineties. Trend spotters are the middleman between the underground and the overground. They travel the world, visiting clubs, bars and shops, sourcing fabrics and sensing the vibe. They gather their findings, and instead of passing on ideas through word of mouth, they package their findings in the form of trends books.

FASHION RESEARCH METHODS Fashion Publications

2002

All the fashion companies surveyed used fashion magazines extensively in researching trends and assessing the current ranges. There are 4 different types of fashion publications which designers use during the creative process. Directional specialist lifestyle magazines such as Wallpaper, Spoon, Dutch provide visual information, which are not directly related to fashion products, but communicate messages about lifestyle products and contexts. Directional fashion magazines such as Purple, Tank, Another Fashion, provide images and feature products from new generation designers, who are experimental in their fashion and styling development. In addition, Fashion Consumer Magazines such as Vogue, Marie Claire, Elle, provide features on designer collections, and high street ranges to a massmarket audience. The fourth type of fashion publication is professional and trade magazines, which directly reports on business issues and provides information on trade show events. Magazines provided secondary information about competitors products, as well as inspiration material for determining potential products for next seasons. They provide an effective and efficient way of observing and viewing wide ranging themes and concepts presented by the fashion press. The features provide clues about how styling stories are coordinated as well as emerging new product trends through reporting information. Depending on the market level, segment, and sector will influence the types of fashion publications, which are used by the fashion designer.

FASHION RESEARCH METHODS Catwalk Shows

2002

The catwalk show is a public event, a marketing exercise, where each show guards and maintains its own aura of exclusivity. Such exclusivity is part of its very marketability, where the audience forms part of the spectacle and the product portrays an image that is reflected only in its semblance (Khan 200). The catwalk show according to Khan provides one purpose which is to be noticed. However, the catwalk shows, although a powerful marketing tool, also provide not only a presentation of new ranges to the retail buyers, but are public forums used by the high street retailers to influence water downed versions of the designer products. Catwalk shows provide the high street retailers with ideas, which are often translated in a cheaper version. The high street retailers are able to copy and supply to the shops within one week of observing the catwalk shows. The designer labels provide important key silhouettes, fabrics and overall styling directions, which are influence fashion designers thinking and confirmation of the right direction. Presented twice a year, every 6 months, and one season ahead ready for collections to be in the shops before the start of either the summer or winter. People who attend these events are buyers from retail outlets, such as independents, department stores, and designers from mass-market companies. The function of the catwalk is to presenting new and original fashion statements, and highly original styling looks.

Catwalk Shows

Season 1 Shown at beginning of Autumn September Presenting Spring/Summer

Season 2 Shown in at beginning of Spring February Presenting Autumn/Winter

Collections Season

FASHION RESEARCH METHODS Directional Shopping Trips

2002

One important activity of the designer is producing directional shop reports. This task was identified as the most common method of researching new fashion ranges, and of all the companies surveyed this was the key approach utilised by the designer. This activity is undertaken by the designer and is usually involves trips to New York, Far East and Western European locations to gain ideas from different cultures. Shop reports informs the team and company of what is happening in the retail market, but is also used to communicate in more detailed the merchandise seen. Designers would cover a wide range of market levels and merchandise to ascertain a broad view of fashion and consumer lifestyles. The mass-market approach to product development would be to look at the designer labels and develop more affordable design ideas and water down the looks. Shop reports also take into account a close examination of price, fabrication, colour, shape, trims, print etc. Retail reports are important to ensure that designers are constantly aware of the merchandise available at the high street stores, designer boutiques. Both high street and designer level have their influences on the designers decision making. Design teams have to come to their own conclusions on how these design trends will evolve or be projected for the following year. Without this information there can be no directions identified, and it is important to be well informed on the fashion, market and consumer environment. Fashion is a constant evolution of trends, rather than personal ideas plucked from nowhere, otherwise the ideas would resemble the theatrical costumes rather than fashion. Retail reports are an account of current merchandise in retail outlets. Reports can be divided into individual garment categories such as sportswear, accessories, womenswear. An informative retail report is one of careful selection, not just reviews of common merchandise, designers have to select the right garments, which could be utilised for future development. The recording process is then organised into a coherent and organised information report. Once the information has been roughly gathered, it must be presented in a logical and presentable manner and illustrate what is being projected. A retail report acts very much like a magazine, but with a more detailed and intense analytical account. The information is usually grouped around looks built around key items. E.g. sport, casual, knitwear, childrenswear. The selection of the design material gathered, is analysed and presented in product ranges or categories. The report must include written statements, with an account of conclusions of the retail market, looks being projected and the key items for that season. The retail report must project a universal account of the major looks and items of the season.

FASHION RESEARCH METHODS Cultural Events

2002

Designers also take inspiration from cultural influences. Being sensitive to how people dress, what they want from their clothes is very important to understanding their dress needs. By exploring different cultures and exploring diversity can expand the creative thinking to form new looks. Fashion is what has become the propelling momentum, the dominant mode of consumption itself, as both the organizational thematic and fluctuating dynamic of consumption, fashion is rapidly instituting itself as the universal code under which all other previous cultural codes are subsumed. (Faurschou 1990) Researching fashion cultural trends are a complex and difficult task. A number of theories have been put forward on what influences fashion and explanations on the phenomenon of change. Traditional perspectives include the trickle down theory (Davis 1992), collective selection theory (Blumer 1969), mass-market theory (King 1963) and sub-culture leadership theory (Kaiser). Trickle down theories emphasis the vertical flow of ideas from upper to lower class. Collection selection emphasises collective taste and conforming to similar fashion looks. Mass-market refers to the fact that mass production in the fashion industry is the main sources of change. Subculture leadership theory holds that different subcultures can inspire new fashion and how it is diffused among the general public. However, recent contemporary research studies into these areas, views fashion change to be divided into micro and macro level. The micro level refers to the individual searching for new looks in the marketplace, but still wanting acceptance in society, and the second macro level theory by Keans (1997) interpretation that the fashion system is the key change agent. Small retailers follow the large and powerful retailers in providing similar styles in each fashion season. People are forced to select from similar styles, but the main difference lies in the way people mix and co-ordinate their outfits while expressing their individuality. Behling (1985) sees fashion change from role models in society and the populations disposable income. He argues that a high rate of disposable include can accelerate the process of fashion change and vice versa.

Historical Sources
Designers are constantly referring to past fashion movements to influence new looks and styling statements. Attending exhibitions and museums are an important way of accessing and seeing historical costumes, which can provide a wealth of ideas. It provides sources of information to assist in identifying classic and successful features from past fashion movements. An example of how important it is to be aware of historical references is constant use of the corset, which has been a highly commercial success for the last 5 years, and still features in the majority of designer and high street ranges.

FASHION RESEARCH METHODS Media/Music

2002

Britain is known as being the leader in young leading edge fashion design, and a source of fashion inspiration. It is seen as particularly good at taking trends from the street and it is often allied to the music industry. The subculture movements normally derived from the music industry, are very important indicators and signals to new forms of fashion statements. Designers need to constantly be aware of the sociological trends which influence underground movements and their adoption to mainstream fashion styling. Subcultures, and youth cultures in general, have gradually separated out their particular imagery from the world of daily labour and immediate social contexts. (Chambers 1990: 68-9). By analysing trends in music and television, can have great impact to the success of new ranges being created by the fashion designer. In addition, films prove to be an important source of inspiration. Both Tom Ford and Ralph Lauren took 1930s black and white films are a starting point, with Ford going so far as to give us Fred Astaire white gloves and a silver-topped cane at Gucci. (Colin McDowell 2001) Old films have been an inspiration for Ralph Lauren throughout his career, and he used comboy films such as High Noon to mark his 35th year as a designer.

Internet
The Internet provides effortless accessibility to international environments, and products. Over the last few years there has been an increase in specialist websites providing fashion information to the fashion designer. The fashion websites provide up to date information on issues concerning the fashion industry. In addition, they provide online reporting systems such as merchandising surveys, trade show summaries, catwalk pictures. This provides the designers with access to current information instantly, and reduces the costs of researching and travelling to gain this type of reference material. Websites are becoming a central resource to designers to ensure they are armed with a set of tools to ensure that the ranges being produced are competitive and meet consumer demands. New websites are presenting highly progressive ideas and exploring the use of multi media techniques, which provides insights to fashion companies to ensure they are presenting themselves to the public in a contemporary manner. Specialist Internet sites also serve the fashion industry, such as WGSN, and first view.

FASHION RESEARCH METHODS References

2002

Khan, N. (2000) Catwalk Politics in S. Bruzzi and P. Church Gibson (ed.), Fashion Cultures, theories, explorations and analysis, London: Routledge. Faurschou, G. (1990) Obsolescence and desire: fashion and the commodity form, in H.J. Silverman (ed.), Postmodernism Philosophy and the Arts, London: Routledge. Abel, D.F. (1978) Strategic Windows. Journal of Marketing, 42, 21-28 Brannon, E. (2000) Fashion Forecasting, United States of America, Fairchild Publishing www.wgsn.com Law, K.M., Zhang, Z.M., Leung, C.S. (1999) Fashion Change, Textile Asia. P.30 32 Davis, F. (1992). Fashion, Culture and Identity. The University of Chicago Press Blumer, H. (1969) Fashion: From Class Differentiation to Collective Selection. In G.B. Sproles (Ed.), Perspectives of Fashion (pp.31-39) Burgess Publishing Company King. C.W. (1963) Fashion Adoption: A Rebuttal to the Trickle-Down Theory. In G.B. Sproles (Ed.), Perspectives of Fashion (pp.31-39). Burgess Publishing Company Kaiser S.B., Nagasawa R.H., Hutton S.S (1995). Constructing of an SI Theory of Fashion: Part 1: Ambivalence and Change. Clothing and Textiles Research Journal, vol. 13, 3, pp.172-183 Kean. R. (1997). The role of Fashion System in Fashion Change: A Response to the Kaiser, Nagasawa and Hutton Model. Clothing and Textile Research Journal, vol. 5, 3. pp. 8-15 Behling. D. (1985). Fashion Changes and Demographics: A Model. Clothing and Textiles Research Journal, vol.14.1, pp.18-24 Chambers, I. (1990), Border Dialogues: Journeys in Postmodernity, London: Routledge Jackson, T. (2001) The process of fashion trend development leading to a season, in T. Hines and M. Bruce (eds.) Fashion Marketing Contemporary Issues, Oxford, ButterworthHeinemann. McDowell, C. (2002) Sunday Times Style Supplement, 24th January 2002 Williamson, C. (2002) Evening Standard ES Supplement 25th January 2002 Lavenbach, H. and Cleary, J.P. (1981) The beginning forecaster: The forecasting process through data analysis. Belmont, CA; Lifetime Learning. Formosa, D. (1991) Design and Information: The State of Information, Art Libraries Journal 1991 16/3